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*****
Herbert Marcuse famously called on fellow Marxist theorists to place art at the service of social change. Although I’d wager that Morten Lauridsen is no follower of Marcuse or Marx, odds are that his musical response to the human condition has the momentary power to alter how we perceive the world. The composer’s exquisite unaccompanied choral setting of Rilke’s ‘Contre qui, rose’ stands as counterpart to his O magnum mysterium, among the jewels from Polyphony’s first all-Lauridsen album.

This second, secular anthology is, if anything, finer than its predecessor, elevated by the heavenly work of all concerned with its making, and the compelling eloquence of Lauridsen’s sublime music. Echoes of Britten, Copland and even Walton surface in Mid-Winter Songs. Any trace of pastiche disappears behind the vivid individuality and pristine sensitivity of Lauridsen’s Robert Graves settings. The composer runs the emotional gamut, from ecstasy in the sublime to subdued introspection, qualities readily engendered and reflected by Polyphony’s matchless singers. Their love for words and music register with unwavering conviction, doubtless fuelled by Lauridsen’s singability. Stephen Layton’s grasp of the polished idiom and his innate musicianship crown this essential release, which under his direction speaks directly to the heart.

The Northwest-born composer Morten Lauridsen, renowned for his choral music, is the subject of this sumptuous CD by the English vocal ensemble Polyphony, under the direction of Stephen Layton. Their glorious sound and subtle interpretations do complete justice to Lauridsen's scores, including the "Mid-Winter Songs," "Les chansons des roses" and the brand-new, rapturous "Nocturnes," of which this disc is the premiere recording.

The Polyphony performances make it clear why Lauridsen is today's preeminent choral composer; you'll hear every nuance of voicing and harmony, enveloped by a choral sound that is shaped by a masterly hand, with quicksilver changes and contrasts. The Britten Sinfonia is featured in the "Mid-Winter Songs"; the other works are a cappella, sung here at a standard against which all subsequent choral recordings should be judged.

This is a spectacular cycle, graced by some sensational singing.

Morton Lauridsen, a Professor of Composition at the University of Southern California, is the most frequently performed American choral composer of our time. Lux Aeterna one of his most popular and moving compositions, has been twice recorded, each receiving Grammy nominations.

This gorgeously recorded disc collects works that were composed between 1983 and 2005. Lauridsen is an avid poetry lover and Mid Winter Songs (1983) recalls British poet and novelist Robert Graves’ affection for two of his lovers. The five choral songs are disturbing, joyful, tender and spiritually moving. Lauridsen’s orchestral accompaniment is tonal, and often reflective of his expertise in early music (Medieval and Renaissance). The 1993 Les chansons des roses, an unaccompanied (except for the final poem) choral setting of Rainer Maria Rilke’s tribute to the many symbols of a rose – love, the thorns, beauty, friendship, and tenderness. Especially memorable is the music to the last poem – Dirait-on (So they say), lyrically reminiscent of Lux Aeterna.

Two of the three sacred songs on this disc were written early in Lauridsen’s career – when he was in his twenties. O come, let us sing unto the Lord uses an organ as accompaniment and Ave dulcissima Maria effectively uses finger cymbals to echo its church setting. Nocturnes celebrates the sensual, romantic and eternal visions that arise during our night long dreams and reveries. Set to three different poets, this nearly 15 minute work is a beautiful and serene completion to a disc that is filled with lovely music. Performances are excellent. Anyone who is interested in the best of choral music of our time will treasure this disc.